document_title: Ray Bradbury

question_text: what was the first book ray bradbury wrote

question_tokens: what was the first book ray bradbury wrote

text: Ray Bradbury

text: Early life[edit]

text: Bradbury was born on August 22, 1920[3] in Waukegan, Illinois[4] to Esther (née Moberg) Bradbury (1888–1966), a Swedish immigrant, and Leonard Spaulding Bradbury (1890–1957),[5] a power and telephone lineman of English descent.[6] He was given the middle name "Douglas" after the actor Douglas Fairbanks. Bradbury was related to the American Shakespeare scholar Douglas Spaulding[7] and descended from Mary Bradbury, who was tried at one of the Salem witch trials in 1692.[8]

text: Bradbury was surrounded by an extended family during his early childhood and formative years in Waukegan. An aunt read him short stories when he was a child.[9] This period provided foundations for both the author and his stories. In Bradbury's works of fiction, 1920s Waukegan becomes "Green Town", Illinois.

text: The Bradbury family lived in Tucson, Arizona, during 1926–1927 and 1932–1933 while their father pursued employment, each time returning to Waukegan. They eventually settled in Los Angeles in 1934 when Bradbury was 14 years old. The family arrived with only US$40, which paid for rent and food until his father finally found a job making wire at a cable company for $14 a week. This meant that they could stay, and Bradbury—who was in love with Hollywood—was ecstatic.

text: Bradbury attended Los Angeles High School and was active in the drama club. He often roller-skated through Hollywood in hopes of meeting celebrities. Among the creative and talented people Bradbury met were special-effects pioneer Ray Harryhausen and radio star George Burns. Bradbury's first pay as a writer was at the age of 14, when Burns hired him to write for the Burns and Allen show.[10][11]

text: Influences[edit]

text: Literature[edit]

text: Throughout his youth, Bradbury was an avid reader and writer[12] and knew at a young age that he was "going into one of the arts."[13] Bradbury began writing his own stories at age 11 (1931), during the Great Depression — sometimes writing on the only available paper, butcher paper.

text: In his youth, he spent much time in the Carnegie library in Waukegan, reading such authors as H. G. Wells, Jules Verne, and Edgar Allan Poe. At 12, Bradbury began writing traditional horror stories and said he tried to imitate Poe until he was about 18.[14] In addition to comics, he loved Edgar Rice Burroughs, creator of Tarzan of the Apes,[15] especially Burroughs' John Carter of Mars series. The Warlord of Mars impressed him so much that at the age of 12, he wrote his own sequel.[16] The young Bradbury was also a cartoonist and loved to illustrate. He wrote about Tarzan and drew his own Sunday panels. He listened to the radio show Chandu the Magician, and every night when the show went off the air, he would sit and write the entire script from memory.

text: As a teen in Beverly Hills, he often visited his mentor and friend science-fiction writer Bob Olsen, sharing ideas and maintaining contact. In 1936, at a secondhand bookstore in Hollywood, Bradbury discovered a handbill promoting meetings of the Los Angeles Science Fiction Society.[17] Excited to find there were others sharing his interest, Bradbury joined a weekly Thursday-night conclave at age 16.[18]

text: At age 17, Bradbury read stories published in Astounding Science Fiction, and read everything by Robert A. Heinlein, Arthur C. Clarke, and the early writings of Theodore Sturgeon and A. E. van Vogt. Bradbury cited H. G. Wells and Jules Verne as his primary science-fiction influences. Bradbury identified with Verne, saying, "He believes the human being is in a strange situation in a very strange world, and he believes that we can triumph by behaving morally". [19] Bradbury admitted that he stopped reading genre books in his 20s and embraced a broad field of literature that included Alexander Pope and poet John Donne.[20] Bradbury had just graduated from high school when he met Robert Heinlein, then 31 years old. Bradbury recalled, "He was well known, and he wrote humanistic science fiction, which influenced me to dare to be human instead of mechanical."[20]

text: Hollywood[edit]

text: The family lived about four blocks from the Uptown Theater on Western Avenue in Los Angeles, the flagship theater for MGM and Fox. There, Bradbury learned how to sneak in and watched previews almost every week. He rollerskated there, as well as all over town, as he put it, "hell-bent on getting autographs from glamorous stars. It was glorious." Among stars the young Bradbury was thrilled to encounter were Norma Shearer, Laurel and Hardy, and Ronald Colman. Sometimes, he spent all day in front of Paramount Pictures or Columbia Pictures and then skated to the Brown Derby to watch the stars who came and went for meals. He recounted seeing Cary Grant, Marlene Dietrich, and Mae West, whom he learned made a regular appearance every Friday night, bodyguard in tow.[20]

text: Bradbury relates the following meeting with Sergei Bondarchuk, director of Soviet epic film series War and Peace, at a Hollywood award ceremony in Bondarchuk's honor:

text: They formed a long queue and as Bondarchuk was walking along it he recognized several people: "Oh Mr. Ford, I like your film." He recognized the director, Greta Garbo, and someone else. I was standing at the very end of the queue and silently watched this. Bondarchuk shouted to me; "Ray Bradbury, is that you?" He rushed up to me, embraced me, dragged me inside, grabbed a bottle of Stolichnaya, sat down at his table where his closest friends were sitting. All the famous Hollywood directors in the queue were bewildered. They stared at me and asked each other "Who is this Bradbury?" And, swearing, they left, leaving me alone with Bondarchuk...[21]

text: Career[edit]

text: Bradbury's first published story was "Hollerbochen's Dilemma", which appeared in the January 1938 number of Forrest J. Ackerman's fanzine Imagination!.[1] In July 1939, Ackerman gave 19-year-old Bradbury the money to head to New York for the First World Science Fiction Convention in New York City, and funded Bradbury's fanzine, titled Futuria Fantasia.[22] Bradbury wrote most of its four issues, each limited to under 100 copies.[citation needed]Between 1940 and 1947, he was a contributor to Rob Wagner's film magazine, Script.[23]

text: Bradbury was free to start a career in writing, when owing to his bad eyesight, he was rejected admission into the military during World War II. Having been inspired by science-fiction heroes such as Flash Gordon and Buck Rogers, Bradbury began to publish science-fiction stories in fanzines in 1938. Bradbury was invited by Forrest J. Ackerman[citation needed] to attend the Los Angeles Science Fiction Society, which at the time met at Clifton's Cafeteria in downtown Los Angeles. This was where he met the writers Robert A. Heinlein, Emil Petaja, Fredric Brown, Henry Kuttner, Leigh Brackett, and Jack Williamson.[citation needed]

text: In 1939, Bradbury joined Laraine Day's Wilshire Players Guild, where for two years, he wrote and acted in several plays. They were, as Bradbury later described, "so incredibly bad" that he gave up playwriting for two decades.[24] Bradbury's first paid piece, "Pendulum", written with Henry Hasse, was published in the pulp magazine Super Science Stories in November 1941, for which he earned $15.[25]

text: Bradbury sold his first story, "The Lake", for $13.75 at 22, and became a full-time writer by 24.[20] His first collection of short stories, Dark Carnival, was published in 1947 by Arkham House, a small press in Sauk City, Wisconsin, owned by writer August Derleth. Reviewing Dark Carnival for the New York Herald Tribune, Will Cuppy proclaimed Bradbury "suitable for general consumption" and predicted that he would become a writer of the caliber of British fantasy author John Collier.[26]

text: After a rejection notice from the pulp Weird Tales, Bradbury submitted "Homecoming" to Mademoiselle, which was spotted by a young editorial assistant named Truman Capote. Capote picked the Bradbury manuscript from a slush pile, which led to its publication. Homecoming won a place in the O. Henry Award Stories of 1947.[27]

text: In UCLA's Powell Library, in a study room with typewriters for rent, Bradbury wrote his classic story of a book burning future, The Fireman, which was about 25,000 words long. It was later published at about 50,000 words under the name Fahrenheit 451, for a total cost of $9.80, due to the library's typewriter-rental fees of ten cents per half-hour.[28]

text: A chance encounter in a Los Angeles bookstore with the British expatriate writer Christopher Isherwood gave Bradbury the opportunity to put The Martian Chronicles into the hands of a respected critic. Isherwood's glowing review[29] followed.

text: Writing[edit]

text: Bradbury attributed to two incidents his lifelong habit of writing every day. The first of these, occurring when he was three years old, was his mother's taking him to see Lon Chaney's performance in The Hunchback of Notre Dame.[30] The second incident occurred in 1932, when a carnival entertainer, one Mr. Electrico, touched the young man on the nose with an electrified sword, made his hair stand on end, and shouted, "Live forever!"[31] Bradbury remarked, "I felt that something strange and wonderful had happened to me because of my encounter with Mr. Electrico...[he] gave me a future...I began to write, full-time. I have written every single day of my life since that day 69 years ago."[31] At that age, Bradbury first started to do magic, which was his first great love. If he had not discovered writing, he would have become a magician.[32]

text: Bradbury claimed a wide variety of influences, and described discussions he might have with his favorite poets and writers Robert Frost, William Shakespeare, John Steinbeck, Aldous Huxley, and Thomas Wolfe. From Steinbeck, he said he learned "how to write objectively and yet insert all of the insights without too much extra comment". He studied Eudora Welty for her "remarkable ability to give you atmosphere, character, and motion in a single line". Bradbury's favorite writers growing up included Katherine Anne Porter, who wrote about the American South, Edith Wharton, and Jessamyn West.[33]

text: Bradbury was once described as a "Midwest surrealist" and is often labeled a science-fiction writer, which he described as "the art of the possible." Bradbury resisted that categorization, however:

text: First of all, I don't write science fiction. I've only done one science fiction book and that's Fahrenheit 451, based on reality. It was named so to represent the temperature at which paper ignites. Science fiction is a depiction of the real. Fantasy is a depiction of the unreal. So Martian Chronicles is not science fiction, it's fantasy. It couldn't happen, you see? That's the reason it's going to be around a long time – because it's a Greek myth, and myths have staying power.[34]

text: Bradbury recounted when he came into his own as a writer, the afternoon he wrote a short story about his first encounter with death. When he was a boy, he met a young girl at the beach and she went out into the water and never came back. Years later, as he wrote about it, tears flowed from him. He recognized he had taken the leap from emulating the many writers he admired to connecting with his voice as a writer.[35][36]

text: When later asked about the lyrical power of his prose, Bradbury replied, "From reading so much poetry every day of my life. My favorite writers have been those who’ve said things well." He is quoted, "If you're reluctant to weep, you won't live a full and complete life."[37]

text: In high school, Bradbury was active in both the poetry club and the drama club, continuing plans to become an actor, but becoming serious about his writing as his high school years progressed. Bradbury graduated from Los Angeles High School, where he took poetry classes with Snow Longley Housh, and short-story writing courses taught by Jeannet Johnson.[38] The teachers recognized his talent and furthered his interest in writing,[39] but he did not attend college. Instead, he sold newspapers at the corner of South Norton Avenue and Olympic Boulevard. In regard to his education, Bradbury said:

text: Libraries raised me. I don't believe in colleges and universities. I believe in libraries because most students don't have any money. When I graduated from high school, it was during the Depression and we had no money. I couldn't go to college, so I went to the library three days a week for 10 years.[40][41]

text: He told The Paris Review, "You can't learn to write in college. It's a very bad place for writers because the teachers always think they know more than you do – and they don’t."[42]

text: Bradbury described his inspiration as, "My stories run up and bite me in the leg -- I respond by writing them down -- everything that goes on during the bite. When I finish, the idea lets go and runs off".[43]

text: "Green Town"[edit]

text: A reinvention of Waukegan, Green Town is a symbol of safety and home, which is often juxtaposed as a contrasting backdrop to tales of fantasy or menace. It serves as the setting of his semiautobiographical classics Dandelion Wine, Something Wicked This Way Comes, and Farewell Summer, as well as in many of his short stories. In Green Town, Bradbury's favorite uncle sprouts wings, traveling carnivals conceal supernatural powers, and his grandparents provide room and board to Charles Dickens.[44] Perhaps the most definitive usage of the pseudonym for his hometown, in Summer Morning, Summer Night, a collection of short stories and vignettes exclusively about Green Town, Bradbury returns to the signature locale as a look back at the rapidly disappearing small-town world of the American heartland, which was the foundation of his roots.[45]

text: Cultural contributions[edit]

text: Bradbury wrote many short essays on the arts and culture, attracting the attention of critics in this field, but he used his fiction to explore and criticize his culture and society. Bradbury observed, for example, that Fahrenheit 451 touches on the alienation of people by media:

text: In writing the short novel Fahrenheit 451 I thought I was describing a world that might evolve in four or five decades. But only a few weeks ago, in Beverly Hills one night, a husband and wife passed me, walking their dog. I stood staring after them, absolutely stunned. The woman held in one hand a small cigarette-package-sized radio, its antenna quivering. From this sprang tiny copper wires which ended in a dainty cone plugged into her right ear. There she was, oblivious to man and dog, listening to far winds and whispers and soap opera cries, sleep walking, helped up and down curbs by a husband who might just as well not have been there. This was not fiction.[46]

text: In a 1982 essay, he wrote, "People ask me to predict the Future, when all I want to do is prevent it". This intent had been expressed earlier by other authors,[47] who sometimes attributed it to him.

text: On May 24, 1956, Bradbury appeared on television in Hollywood on the popular quiz show You Bet Your Life hosted by Groucho Marx. During his introductory comments and on-air banter with Marx, Bradbury briefly discussed some of his books and other works, including giving an overview of "The Veldt", his short story published six years earlier in The Saturday Evening Post under the title "The World the Children Made".[48]

text: Bradbury was a consultant for the American Pavilion at the 1964 New York World's Fair[49] and for the original exhibit housed in Epcot's Spaceship Earth geosphere at Walt Disney World.[50][51][52] Bradbury concentrated on detective fiction in the 1980s.[53] In the latter half of the 1980s and early 1990s, he also hosted The Ray Bradbury Theater, a televised anthology series based on his short stories.

text: Bradbury was a strong supporter of public library systems, raising money to prevent the closure of several libraries in California facing budgetary cuts. He said "libraries raised me", and shunned colleges and universities, comparing his own lack of funds during the Depression with poor contemporary students.[54] His opinion varied on modern technology. In 1985 Bradbury wrote, "I see nothing but good coming from computers. When they first appeared on the scene, people were saying, 'Oh my God, I'm so afraid.' I hate people like that – I call them the neo-Luddites", and "In a sense, [computers] are simply books. Books are all over the place, and computers will be, too".[55] He resisted the conversion of his work into e-books, saying in 2010, "We have too many cellphones. We've got too many internets. We have got to get rid of those machines. We have too many machines now".[56] When the publishing rights for Fahrenheit 451 came up for renewal in December 2011, Bradbury permitted its publication in electronic form provided that the publisher, Simon & Schuster, allowed the e-book to be digitally downloaded by any library patron. The title remains the only book in the Simon & Schuster catalog where this is possible.[57]

text: Several comic-book writers have adapted Bradbury's stories. Particularly noted among these were EC Comics' line of horror and science-fiction comics. Initially, the writers plagiarized his stories, but a diplomatic letter from Bradbury about it led to the company paying him and negotiating properly licensed adaptations of his work. The comics featuring Bradbury's stories included Tales from the Crypt, Weird Science, Weird Fantasy, Crime Suspenstories, and Haunt of Fear.

text: Bradbury remained an enthusiastic playwright all his life, leaving a rich theatrical legacy, as well as literary. Bradbury headed the Pandemonium Theatre Company in Los Angeles for many years and had a five-year relationship with the Fremont Centre Theatre in South Pasadena.[58]

text: Bradbury is featured prominently in two documentaries related to his classic 1950s-1960s era: Jason V Brock's Charles Beaumont: The Life of Twilight Zone's Magic Man,[59] which details his troubles with Rod Serling, and his friendships with writers Charles Beaumont, George Clayton Johnson, and most especially his dear friend William F. Nolan, as well as Brock's The AckerMonster Chronicles!, which delves into the life of former Bradbury agent, close friend, mega-fan, and Famous Monsters of Filmland editor Forrest J Ackerman.

text: Bradbury's legacy was celebrated by the bookstore Fahrenheit 451 Books in Laguna Beach, California, in the 1970s and 1980s. The grand opening of an annex to the store was attended by Bradbury and his favorite illustrator, Joseph Mugnaini, in the mid-1980s. The shop closed its doors in 1987, but in 1990, another shop with the same name (with different owners) opened in Carlsbad, California.[60]

text: Personal life[edit]

text: Bradbury was married to Marguerite McClure (January 16, 1922 – November 24, 2003) from 1947 until her death; they had four daughters:[61] Susan, Ramona, Bettina, and Alexandra.[62] Bradbury never obtained a driver's license, but relied on public transportation or his bicycle.[63] He lived at home until he was 27 and married. His wife of 56 years, Maggie, as she was affectionately called, was the only woman Bradbury ever dated.[20]

text: He was raised Baptist by his parents, who were themselves infrequent churchgoers. As an adult, Bradbury considered himself a "delicatessen religionist" who resisted categorization of his beliefs and took guidance from both Eastern and Western faiths. He felt that his career was "a God-given thing, and I'm so grateful, so, so grateful. The best description of my career as a writer is, 'At play in the fields of the Lord.'"[64]

text: Bradbury was a close friend of Charles Addams, and Addams illustrated the first of Bradbury's stories about the Elliotts, a family that resembled Addams' own Addams Family placed in rural Illinois. Bradbury's first story about them was "Homecoming", published in the 1946 Halloween issue of Mademoiselle, with Addams' illustrations. Addams and he planned a larger collaborative work that would tell the family's complete history, but it never materialized, and according to a 2001 interview, they went their separate ways.[65] In October 2001, Bradbury published all the Family stories he had written in one book with a connecting narrative, From the Dust Returned, featuring a wraparound Addams cover of the original "Homecoming" illustration.[66]

text: Another close friend was animator Ray Harryhausen, who was best man at Bradbury's wedding.[67] During a BAFTA 2010 awards tribute in honor of Ray Harryhausen's 90th birthday, Bradbury spoke of his first meeting Harryhausen at Forrest J Ackerman's house when they were both 18 years old. Their shared love for science fiction, King Kong, and the King Vidor-directed film The Fountainhead, written by Ayn Rand, was the beginning of a lifelong friendship. These early influences inspired the pair to believe in themselves and affirm their career choices. After their first meeting, they kept in touch at least once a month, in a friendship that spanned over 70 years.[68]

text: Late in life, Bradbury retained his dedication and passion despite what he described as the "devastation of illnesses and deaths of many good friends." Among the losses that deeply grieved Bradbury was the death of Star Trek creator Gene Roddenberry, who was an intimate friend for many years. They remained close friends for nearly three decades after Roddenberry asked him to write for Star Trek, which Bradbury never did, objecting that he "never had the ability to adapt other people's ideas into any sensible form."[20]

text: Bradbury suffered a stroke in 1999[69] that left him partially dependent on a wheelchair for mobility.[70] Despite this, he continued to write, and had even written an essay for The New Yorker, about his inspiration for writing, published only a week prior to his death.[71] Bradbury made regular appearances at science-fiction conventions until 2009, when he retired from the circuit.

text: Bradbury chose a burial place at Westwood Village Memorial Park Cemetery in Los Angeles, with a headstone that reads "Author of Fahrenheit 451".[72][73] On February 6, 2015, The New York Times reported that the house that Bradbury lived and wrote in for 50 years of his life, at 10265 Cheviot Drive in Cheviot Hills, Los Angeles, California, had been demolished by the buyer, architect Thom Mayne.[74]

text: Death[edit]

text: Bradbury died in Los Angeles, California, on June 5, 2012, at the age of 91, after a lengthy illness.[75] Bradbury's personal library was willed to the Waukegan Public Library, where he had many of his formative reading experiences.[76]

text: The New York Times called Bradbury "the writer most responsible for bringing modern science fiction into the literary mainstream."[2] The Los Angeles Times credited Bradbury with the ability "to write lyrically and evocatively of lands an imagination away, worlds he anchored in the here and now with a sense of visual clarity and small-town familiarity".[77] Bradbury's grandson, Danny Karapetian, said Bradbury's works had "influenced so many artists, writers, teachers, scientists, and it's always really touching and comforting to hear their stories".[62] The Washington Post noted several modern day technologies that Bradbury had envisioned much earlier in his writing, such as the idea of banking ATMs and earbuds and Bluetooth headsets from Fahrenheit 451, and the concepts of artificial intelligence within I Sing the Body Electric.[78]

text: On June 6, 2012, in an official public statement from the White House Press Office, President Barack Obama said:

text: For many Americans, the news of Ray Bradbury's death immediately brought to mind images from his work, imprinted in our minds, often from a young age. His gift for storytelling reshaped our culture and expanded our world. But Ray also understood that our imaginations could be used as a tool for better understanding, a vehicle for change, and an expression of our most cherished values. There is no doubt that Ray will continue to inspire many more generations with his writing, and our thoughts and prayers are with his family and friends.[79]

text: Numerous Bradbury fans paid tribute to the author, noting the influence of his works on their own careers and creations.[80][81] Filmmaker Steven Spielberg stated that Bradbury was "[his] muse for the better part of [his] sci-fi career.... On the world of science fiction and fantasy and imagination he is immortal".[82] Writer Neil Gaiman felt that "the landscape of the world we live in would have been diminished if we had not had him in our world".[81] Author Stephen King released a statement on his website saying, "Ray Bradbury wrote three great novels and three hundred great stories. One of the latter was called 'A Sound of Thunder'. The sound I hear today is the thunder of a giant's footsteps fading away. But the novels and stories remain, in all their resonance and strange beauty."[83]

text: Bibliography[edit]

text: Bradbury is credited with writing 27 novels and over 600 short stories.[77] More than eight million copies of his works, published in over 36 languages, have been sold around the world.[2]

text: First novel[edit]

text: In 1949, Bradbury and his wife were expecting their first child. He took a Greyhound bus to New York and checked into a room at the YMCA for 50 cents a night. He took his short stories to a dozen publishers and no one wanted them. Just before getting ready to go home, Bradbury had dinner with an editor at Doubleday. When Bradbury recounted that everyone wanted a novel and he did not have one, the editor, coincidentally named Walter Bradbury, asked if the short stories might be tied together into a book-length collection. The title was the editor's idea; he suggested, "You could call it The Martian Chronicles." Bradbury liked the idea and recalled making notes in 1944 to do a book set on Mars. That evening, he stayed up all night at the YMCA and typed out an outline. He took it to the Doubleday editor the next morning, who read it and wrote Bradbury a check for $750. When Bradbury returned to Los Angeles, he connected all the short stories that became The Martian Chronicles.[33]

text: Intended first novel[edit]

text: What was later issued as a collection of stories and vignettes, Summer Morning, Summer Night, started out to be Bradbury's first true novel. The core of the work was Bradbury's witnessing of the American small-town life in the American heartland.

text: In the winter of 1955–56, after a consultation with his Doubleday editor, Bradbury deferred publication of a novel based on Green Town, the pseudonym for his hometown. Instead, he extracted 17 stories and, with three other Green Town tales, bridged them into his 1957 book Dandelion Wine. Later, in 2006, Bradbury published the original novel remaining after the extraction, and retitled it Farewell Summer. These two titles show what stories and episodes Bradbury decided to retain as he created the two books out of one.

text: The most significant of the remaining unpublished stories, scenes, and fragments were published under the originally intended name for the novel, Summer Morning, Summer Night, in 2007.[84]

text: Adaptations to other media[edit]

text: From 1950 to 1954, 31 of Bradbury's stories were adapted by Al Feldstein for EC Comics (seven of them uncredited in six stories, including "Kaleidoscope" and "Rocket Man" being combined as "Home To Stay" - for which Bradbury was retroactively paid - and EC's first version of "The Handler" under the title "A Strange Undertaking") and 16 of these were collected in the paperbacks, The Autumn People (1965) and Tomorrow Midnight (1966), both published by Ballantine Books with cover illustrations by Frank Frazetta.

text: Also in the early 1950s, adaptations of Bradbury's stories were televised in several anthology shows, including Tales of Tomorrow, Lights Out, Out There, Suspense, CBS Television Workshop, Jane Wyman's Fireside Theatre, Star Tonight, Windows and Alfred Hitchcock Presents. "The Merry-Go-Round", a half-hour film adaptation of Bradbury's "The Black Ferris", praised by Variety, was shown on Starlight Summer Theater in 1954 and NBC's Sneak Preview in 1956. During that same period, several stories were adapted for radio drama, notably on the science fiction anthologies Dimension X and its successor X Minus One.

text: Producer William Alland first brought Bradbury to movie theaters in 1953 with It Came from Outer Space, a Harry Essex screenplay developed from Bradbury's screen treatment "Atomic Monster". Three weeks later came the release of Eugène Lourié's The Beast from 20,000 Fathoms (1953), which featured one scene based on Bradbury's "The Fog Horn", about a sea monster mistaking the sound of a fog horn for the mating cry of a female. Bradbury's close friend Ray Harryhausen produced the stop-motion animation of the creature. Bradbury later returned the favor by writing a short story, "Tyrannosaurus Rex", about a stop-motion animator who strongly resembled Harryhausen. Over the next 50 years, more than 35 features, shorts, and TV movies were based on Bradbury's stories or screenplays.

text: Bradbury was hired in 1953 by director John Huston to work on the screenplay for his film version of Melville's Moby Dick (1956), which stars Gregory Peck as Captain Ahab, Richard Basehart as Ishmael, and Orson Welles as Father Mapple. A significant result of the film was Bradbury's book Green Shadows, White Whale, a semifictionalized account of the making of the film, including Bradbury's dealings with Huston and his time in Ireland, where exterior scenes that were set in New Bedford, Massachusetts, were filmed.

text: Bradbury's short story I Sing the Body Electric (from the book of the same name) was adapted for the 100th episode of The Twilight Zone. The episode was first aired on May 18, 1962.

text: In 1965, three of Bradbury's stories were adapted for the stage. These included "The Wonderful Ice Cream Suit", "The Day It Rained Forever", and "Device Out of Time". The last was adapted from his 1957 novel Dandelion Wine. The plays debuted at the Coronet Theater in Hollywood and featured Booth Coleman, Joby Baker, Fredric Villani, Arnold Lessing, Eddie Sallia, Keith Taylor, Richard Bull, Gene Otis Shane, Henry T. Delgado, F. Murray Abraham, Anne Loos, and Len Lesser. The director was Charles Rome Smith and the production company was Pandemonium Productions.

text: Oskar Werner and Julie Christie starred in Fahrenheit 451 (1966), an adaptation of Bradbury's novel directed by François Truffaut.

text: In 1966, Bradbury helped Lynn Garrison create AVIAN, a specialist aviation magazine. For the first issue, Bradbury wrote a poem, "Planes That Land on Grass".

text: In 1969, The Illustrated Man was brought to the big screen, starring Rod Steiger, Claire Bloom, and Robert Drivas. Containing the prologue and three short stories from the book, the film received mediocre reviews. The same year, Bradbury approached composer Jerry Goldsmith, who had worked with Bradbury in dramatic radio of the 1950s and later scored the film version, to compose a cantata Christus Apollo based on Bradbury's text.[85] The work premiered in late 1969, with the California Chamber Symphony performing with narrator Charlton Heston at UCLA.

text: In 1972, The Screaming Woman was adapted as an ABC Movie-of-the-Week starring Olivia de Havilland.

text: The Martian Chronicles became a three-part TV miniseries starring Rock Hudson, which was first broadcast by NBC in 1980. Bradbury found the miniseries "just boring".[88]

text: The 1982 television movie The Electric Grandmother was based on Bradbury's short story "I Sing the Body Electric".

text: The 1983 horror film Something Wicked This Way Comes, starring Jason Robards and Jonathan Pryce, is based on the Bradbury novel of the same name.

text: In 1984, Michael McDonough of Brigham Young University produced "Bradbury 13", a series of 13 audio adaptations of famous stories from Bradbury, in conjunction with National Public Radio. The full-cast dramatizations featured adaptations of "The Ravine", "Night Call, Collect", "The Veldt", "There Was an Old Woman", "Kaleidoscope", "Dark They Were, and Golden-Eyed", "The Screaming Woman", "A Sound of Thunder", "The Man", "The Wind", "The Fox and the Forest", "Here There Be Tygers", and "The Happiness Machine". Voiceover actor Paul Frees provided narration, while Bradbury was responsible for the opening voiceover; Greg Hansen and Roger Hoffman scored the episodes. The series won a Peabody Award and two Gold Cindy awards, and was released on CD on May 1, 2010. The series began airing on BBC Radio 4 Extra on June 12, 2011.

text: From 1985 to 1992, Bradbury hosted a syndicated anthology television series, The Ray Bradbury Theater, for which he adapted 65 of his stories. Each episode began with a shot of Bradbury in his office, gazing over mementoes of his life, which he states (in narrative) are used to spark ideas for stories. During the first two seasons, Bradbury also provided additional voiceover narration specific to the featured story and appeared on screen.

text: Deeply respected in the USSR, Bradbury's fiction has been adapted into five episodes of the Soviet science-fiction TV series This Fantastic World which adapted the stories film version of "I Sing The Body Electric", Fahrenheit 451, "A Piece of Wood", "To the Chicago Abyss", and "Forever and the Earth".[89] In 1984 a cartoon adaptation of There Will Come Soft Rains («Будет ласковый дождь») came out by Uzbek director Nazim Tyuhladziev.[90] He made a film adaptation of "The Veldt" ("Вельд") in 1987.[91] In 1989, a cartoon adaptation of "Here There Be Tygers" («Здесь могут водиться тигры») by director Vladimir Samsonov came out.[92]

text: Bradbury wrote and narrated the 1993 animated television version of The Halloween Tree, based on his 1972 novel.

text: The 1998 film The Wonderful Ice Cream Suit, released by Touchstone Pictures, was written by Bradbury. It was based on his story "The Magic White Suit" originally published in The Saturday Evening Post in 1957. The story had also previously been adapted as a play, a musical, and a 1958 television version.

text: In 2002, Bradbury's own Pandemonium Theatre Company production of Fahrenheit 451 at Burbank's Falcon Theatre combined live acting with projected digital animation by the Pixel Pups. In 1984, Telarium released a game for Commodore 64 based on Fahrenheit 451.[93] Bradbury and director Charles Rome Smith co-founded Pandemonium in 1964, staging the New York production of The World of Ray Bradbury (1964), adaptations of "The Pedestrian", "The Veldt", and "To the Chicago Abyss".

text: In 2005, the film A Sound of Thunder was released, loosely based upon the short story of the same name. The film The Butterfly Effect revolves around the same theory as A Sound of Thunder and contains many references to its inspiration. Short film adaptations of A Piece of Wood and The Small Assassin were released in 2005 and 2007, respectively.

text: In 2005, it was reported that Bradbury was upset with filmmaker Michael Moore for using the title Fahrenheit 9/11, which is an allusion to Bradbury's Fahrenheit 451, for his documentary about the George W. Bush administration. Bradbury expressed displeasure with Moore's use of the title, but stated that his resentment was not politically motivated, though Bradbury was conservative-leaning politically.[94] Bradbury asserted that he did not want any of the money made by the movie, nor did he believe that he deserved it. He pressured Moore to change the name, but to no avail. Moore called Bradbury two weeks before the film's release to apologize, saying that the film's marketing had been set in motion a long time ago and it was too late to change the title.[95]

text: In 2008, the film Ray Bradbury's Chrysalis was produced by Roger Lay Jr. for Urban Archipelago Films, based upon the short story of the same name. The film won the best feature award at the International Horror and Sci-Fi Film Festival in Phoenix. The film has international distribution by Arsenal Pictures and domestic distribution by Lightning Entertainment.

text: In 2010, The Martian Chronicles was adapted for radio by Colonial Radio Theatre on the Air.

text: Bradbury's works and approach to writing are documented in Terry Sanders' film Ray Bradbury: Story of a Writer (1963).

text: Bradbury's poem "Groon" was voiced as a tribute in 2012.[96]

text: Awards and honors[edit]

text: The Ray Bradbury Award for excellency in screenwriting was occasionally presented by the Science Fiction and Fantasy Writers of America – presented to six people on four occasions from 1992 to 2009.[97] Beginning 2010, the Ray Bradbury Award for Outstanding Dramatic Presentation is presented annually according to Nebula Awards rules and procedures, although it is not a Nebula Award.[98] The revamped Bradbury Award replaced the Nebula Award for Best Script.

text:
In 1971, an impact crater on Earth's moon was named Dandelion Crater by the Apollo 15 astronauts, in honor of Bradbury's novel Dandelion Wine.
In 1984, he received the Prometheus Award for Fahrenheit 451.
Ray Bradbury Park was dedicated in Waukegan, Illinois, in 1990. He was present for the ribbon-cutting ceremony. The park contains locations described in Dandelion Wine, most notably the "113 steps". In 2009, a panel designed by artist Michael Pavelich was added to the park detailing the history of Ray Bradbury and Ray Bradbury Park.[99]
An asteroid discovered in 1992 was named "9766 Bradbury" in his honor.
In 1994, he received the Peggy V. Helmerich Distinguished Author Award, presented annually by the Tulsa Library Trust.
In 1994, he won an Emmy Award for the screenplay The Halloween Tree.
In 2000, he was awarded the Medal for Distinguished Contribution to American Letters from the National Book Foundation.[100]
For his contribution to the motion picture industry, Bradbury was given a star on the Hollywood Walk of Fame on April 1, 2002.[101]
In 2003, he received an honorary doctorate from Woodbury University, where he presented the Ray Bradbury Creativity Award each year until his death.[102]
On November 17, 2004, Bradbury received the National Medal of Arts, presented by President George W. Bush and Laura Bush.[103]
Bradbury received a World Fantasy Award for Life Achievement at the 1977 World Fantasy Convention and was named Gandalf Grand Master of Fantasy at the 1980 World Science Fiction Convention.[104] In 1989 the Horror Writers Association gave him the fourth or fifth Bram Stoker Award for Lifetime Achievement in horror fiction[105] and the Science Fiction Writers of America made him its 10th SFWA Grand Master.[106] He won a First Fandom Hall of Fame Award in 1996[107] and the Science Fiction and Fantasy Hall of Fame inducted him in 1999, its fourth class of two deceased and two living writers.[108]
In 2005, he was awarded the degree of Doctor of Laws (honoris causa) by the National University of Ireland, Galway, at a conferring ceremony in Los Angeles.
On April 14, 2007, Bradbury received the Sir Arthur Clarke Award's Special Award, given by Clarke to a recipient of his choice.
On April 16, 2007, Bradbury received a special citation by the Pulitzer Prize jury "for his distinguished, prolific, and deeply influential career as an unmatched author of science fiction and fantasy."[109]
In 2007, Bradbury received the French Commandeur Ordre des Arts et des Lettres medal.[110]
In 2008, he was named SFPA Grandmaster.[111]
On May 17, 2008, Bradbury received the inaugural J. Lloyd Eaton Lifetime Achievement Award in Science Fiction, presented by the UCR Libraries at the 2008 Eaton Science Fiction Conference, "Chronicling Mars".[112]
In 2009, Bradbury was awarded an Honorary Doctorate by Columbia College Chicago.[113]
In 2010, Spike TV Scream Awards Comic-Con Icon Award went to Bradbury
In 2012, the NASA Curiosity rover landing site (4°35′22″S 137°26′30″E / 4.5895°S 137.4417°E / -4.5895; 137.4417)[114][115] on the planet Mars was named "Bradbury Landing".[116][117]
On December 6, 2012, the Los Angeles street corner at 5th and Flower Streets was named in his honor.[118]
On February 24, 2013, Bradbury was honored at the 85th Academy Awards during that event's "In Memoriam" segment.[119]

text: Documentaries[edit]

text: Bradbury appeared in the documentary The Fantasy Film Worlds of George Pal (1985), produced and directed by Arnold Leibovit.


document_title: Halo 3: ODST

question_text: who do you play as in halo 3 odst

question_tokens: who do you play as in halo 3 odst

root

text: Halo 3: ODST

text: Gameplay[edit]

text: Halo 3: ODST is a shooter video game with most gameplay taking place from a first-person perspective. The game features an open world environment in the updated Kenyan city of Mombasa, referred to as New Mombasa.[1] Although the gameplay of ODST bears a strong resemblance to that of previous Halo titles, the player does not assume the role of the enhanced human supersoldier Master Chief, protagonist of Halo 3. Instead, the player controls human soldiers known as "Orbital Drop Shock Troopers" or ODSTs.[2] Since ODSTs do not possess the Master Chief's advanced armor and reflexes, they cannot jump as high, move as fast, survive large falls, or wield two weapons at once.[3] Instead of the Master Chief's damage-absorbing energy shield, the game uses a recharging stamina mechanic. After the player sustains damage, the screen flashes red and the stamina score decreases. If the player receives additional damage before the stamina can recover, the player's health is reduced.[4] Loss of all health causes the player character to die and restart at the last saved checkpoint. Medical packs scattered around the game environment can restore the player's health.[5] The player's head-up display (HUD) includes a "VISR" mode that outlines enemies in red, allies in green, and items of interest in either blue or yellow.[6]

tag: p

text: Campaign[edit]

text: The game's Campaign mode may be played alone or cooperatively with a maximum of three additional players. As a lone human soldier known as "the Rookie,"[7] the player's goal is to discover what happened to his missing teammates. After finding a piece of evidence left behind, such as a sniper rifle hanging from a power line, the player will enter a flashback mission, where they assume the role of the missing soldier six hours earlier.[7][8] After the player has found the first piece of evidence, the choice of where to go next is left open; campaign levels may be played in any order.[9]

text: Multiplayer[edit]

text: In the multiplayer matchmaking, ODST includes Halo 3's multiplayer game modes contained on a separate disc.[10] The offering contains 21 multiplayer maps released for Halo 3 as well as 3 additional maps titled Citadel, Heretic, and Longshore.[11] Along with the Halo 3 maps, ODST includes a version of the Forge map editor[12]—a utility that allows player customizations of multiplayer levels.[13]

text: ODST contains a cooperative game mode called Firefight, where players take on increasingly difficult waves of enemies in a timed survival game. Firefight can be played cooperatively with up to three other players via networked consoles (System Link) or Microsoft multiplayer service Xbox Live, or up to two players on the same console in splitscreen mode. Players start Firefight with only the Rookie as a playable character; completing the campaign mode unlocks other characters and maps. Players are awarded medals for making special kills, and individual and team scores are tracked throughout the games. Inside Firefight, players have a shared pool of seven lives, which are replenished after completing five rounds. Adding to the difficulty are modifiers called "skulls", which give enemies new abilities or a handicap to the player – the "Catch" skull, for example, causes enemies to throw greater numbers of grenades. Each of the first three rounds in a set activates a different skull. On the fourth set, all skulls are activated and the players must survive 60 seconds.[10][14][15]

text: Campaign[edit]

text: Setting and characters[edit]

text: ODST takes place in the 26th century, when humans under the command of the United Nations Space Command (UNSC) are locked in a war with a theocratic alliance of alien races known as the Covenant.[16] During the events of the 2004 video game Halo 2, the Covenant discover the location of Earth and launch an assault on the city of New Mombasa in Africa. Though the UNSC manages to repel most of the fleet, a large ship hovers over the city, depositing an invasion force. The ship eventually retreats via a slipspace jump, creating a massive shockwave.[8] While the rest of Halo 2's storyline follows the ship to an ancient installation identical to the first Halo, ODST focuses on the aftermath of the shockwave, while the Covenant still occupy the city.[17]

text: During the game, the player can unlock audio files to an additional narrative called "Sadie's Story", which tells the story of a civilian girl caught in the initial stages of the Covenant invasion and her quest to find her father. The tale can also provide useful information for the player during the game, such as helping to locate hidden caches of weapons.[17]

text: The game's protagonist is the unnamed Rookie, a new member of a group of Orbital Drop Shock Troopers. Troopers, known as ODSTs or Helljumpers,[18] often deploy in small, one-man Human Entry Vehicles (HEVs), launched from spaceships in the upper atmosphere.[19] The Rookie is assisted in finding his teammates by Mombasa's city maintenance AI, called the Superintendent or Virgil.[20][21] The Rookie's teammates are Buck, Dutch, Romeo, Mickey, and Dare.[22] The lattermost is a UNSC Office of Naval Intelligence (ONI) agent in charge of the squad's operation.[23]

text: Plot[edit]

text: The game begins with Dutch (Adam Baldwin), Romeo (Nolan North), and Mickey (Alan Tudyk) discussing the Covenant ship above New Mombasa, with the Rookie asleep nearby. Buck (Nathan Fillion) arrives and introduces Dare (Tricia Helfer).[23] Romeo wakes the Rookie and the team enter their HEVs and drop through the atmosphere; at the last minute, Dare changes their trajectory to miss the ship.[24][25] The Covenant ship enters slipspace, sending a shockwave toward the ODSTs; the Rookie's pod collides with Mickey's and crashes into a building on the ground, knocking him unconscious for six hours.[26] He awakens and proceeds to find clues as to what happened to his squadmates.[27]

text: Buck makes a rough landing after the drop and fights through Covenant forces to find Dare. He finds Romeo instead, and the two resolve to find the others and get out of the city.[28] Dutch drops near a nature preserve and helps Marines fighting there. Mickey commandeers a tank and fights his way along a Mombasa boulevard. Meeting up with Dutch, the two defend an ONI base from the Covenant, destroying the facility to keep it from being captured. They are evacuated by a transport and make contact with Buck, arranging a rendezvous at police headquarters, but are shot down. Buck and Romeo rescue Dutch and Mickey, but Romeo is seriously wounded. The squad hijacks a Covenant dropship, but instead of leaving the city, Buck decides to have them turn back and find Dare.[29]

text: Back in the city, the Rookie is assisted by Virgil (the Superintendent), which leads him to Dare's position. The two reach the Superintendent's data core, which possesses information on something the Covenant is looking for underneath the city.[30] Inside the core, they discover a Covenant Engineer. Dare explains that the Engineers are "biological supercomputers" that have been enslaved by the Covenant, and the one they found wishes to defect to the humans; with the Engineer's information on the Covenant combined with the Superintendent's data,[31] Dare's mission changes from downloading the Superintendent's data to escorting the alien to safety. The Rookie, Dare, and the Engineer reunite with Buck and fight their way out of the city. As they fly away in the transport, the squad watches as Covenant ships destroy New Mombasa.[32]

text: In the epilogue, one month after the events of the campaign, the ODST squad has been keeping guard over the Engineer. Sergeant Major Avery Johnson arrives, informing the Engineer that he intends to ask it everything it knows about the Covenant—and what they are looking for—setting the stage for Halo 3.[33] If the campaign is completed on the Legendary difficulty level, a scene shows the Prophet of Truth overseeing the excavation of a Forerunner artifact buried beneath the Superintendent's data core.[32]

text: Development[edit]

text: Design[edit]

text: Much of ODST's development team started work on director Peter Jackson's Halo Chronicles video game during the production of Halo 3. However, the failure of a Halo film adaptation and the subsequent cancellation of Chronicles meant a sizeable team no longer had a project. Around the same time, production for Halo: Reach began, and Bungie realized that there was a window of time for the studio to create a new product,[34] what producer Curtis Creamer described as a two-to-three-hour "mini-campaign".[35] After looking at the proposal and the budget, studio head Harold Ryan gave the go-ahead.[34]

text: With a game engine already assembled, the team began honing the concept.[34] Bungie was interested in bringing changes to the classical Halo format which had remained essentially unchanged over three games. The developers spent weeks considering which characters they wanted to focus on.[36] Having players control previous protagonists such as the Master Chief or Arbiter would have brought with it story baggage and expectations.[37] At one point, they considered making the game a Covenant-themed story about an elite strike force. Instead, the developers looked at human characters; while they considered Avery Johnson, they settled on the ODSTs.[34] "The ODSTs have always been fan favorites," Bungie community director Brian Jarrard explained.[38] "We never really got inside [the ODSTs]," story director Joseph Staten said, and he saw that game as an opportunity to flesh out the black-armored soldiers.[36]

text: Making the player an ODST required gameplay changes to preserve the classic Halo gameplay formula while branching it in new directions. The addition of silenced weapons and a revamped pistol were attempts to split the functionality of Halo 2 and Halo 3's "battle rifle" weapon and give the ODSTs unique armaments. The sound designers increased the loudness of the game's submachine gun to make it feel more powerful. The health mechanism was added to provide a level of tension; "it reminds you that you're vulnerable," Staten said.[35]

text: With the main characters in place, the development team had to decide on a setting.[36] "The events that unfolded on Earth is something fans still clamor for after being 'short changed' in Halo 2," Jarrard said.[38] "Fans wanted to know what happened back on Earth, how humanity was defending it."[39] New Mombasa's urban environments fit the intended feel of the game, as Bungie felt that the change of protagonists required a change in location: "We know the kinds of problems Master Chief solves," Staten explained. "He goes to ancient, alien ring artifacts, fights galaxy-consuming parasitic alien monsters and destroys alien empires [...] The ODST, they maybe take small parts in that larger struggle. But the kind of fights they usually get into are usually the kind of fights they can tackle in a day."[34]

text: Returning to a previous setting offered the artists new challenges and opportunities to expand the scope of the city.[36] Having the player walk through the streets at night inspired a film noir ambiance. Color shifts and a high degree of contrast pushed the game's look beyond what previous Halo games had offered,[36] but the team had to make sure that even dark portions of the city were playable.[35] The entire core development team looked at commissioned concept paintings to decide how lighting schemes would affect the gameplay. The genre also influenced the character names and archetypes. The player character, for example, fits the concept of a lone, hardboiled detective. To increase the depth of the surroundings, Bungie added touches such as advertisements, trash collectors, and civilian versions of previously seen military hardware.[36]

text: Bungie began development of ODST in March 2008.[40] ODST was the first Bungie title completed in less than three years,[41] as production lasted 14 months.[34] Since the team—numbering around 70, plus a five-person core design group[42]—had such a small window for development, they had to prioritize features; for example, rather than completely redesigning the enemies, only a small new subset of artificial intelligence behaviors were added. Because the game featured an open world different from most Halo missions, certain gameplay tweaks, such as the revamped weapons and an overhead map, were necessary.[37] Whereas in a traditional Halo game, the designers would know from what locations players would approach groups of enemies, ODST required a different strategy. "We had to make sure we had groups of Covenant patrolling the city who could react from wherever you attack from and look intelligent doing it," Creamer said.[43] Though the game engine remained unchanged, graphical enhancements such as fullscreen shader system and parallax mapping added greater detail and realism.[36]

text: The Firefight game mode was a late addition to the game. Staffer Tim Williams built a prototype shortly after Halo 3 shipped, placing the player in a portion of a Halo 3 campaign map and fighting enemies. When development commenced on ODST, William's concept was adopted for the game and refined. Designer Lars Bakken described one advantage of the game mode as providing a more friendly multiplayer environment than hardcore players online. The designers reused the campaign scoring and medal system from Halo 3 to add a competitive edge.[37]

text: Sadie's Story was created by Fourth Wall Studios in partnership with Staten and artist Ashley Wood. Fourth Wall Studios was formed by former members of 42 Entertainment, who produced the highly successful I Love Bees alternate reality game to promote Halo 2.[44][45] Recalled Staten, "we realized that in Halo we do a pretty good job of describing the clash of these military industrial complexes, but it really is the soldiers' story," and Halo 3: ODST offered a chance to take a look at the unexplored civilian story.[17]

text: By December 2008, the game was "representational", meaning that players could experience the game from start to finish, albeit in an unfinished state. The entire Bungie staff was pulled from other duties to play through the game and offer feedback. Among the unfinished elements was the lack of finished dialogue delivered by voice actors, in which Staten filled in placeholder audio.[46] The entire game was completed just before its presentation at the Electronic Entertainment Expo 2009.[47]

text: Audio[edit]

text: Bungie's audio director Martin O'Donnell and his partner Michael Salvatori composed the music for ODST. In contrast to Halo's signature gregorian chant, there is no choral music in ODST,[48] and no previous Halo themes make a return appearance.[49] Two out of the game's three hours of music were packaged in a two-disc soundtrack released September 22, 2009.[48] Due to ODST's shift to a new protagonist, O'Donnell wanted to create new music that was evocative of Halo but branched in a different direction.[40] Because the game tells a "human story, not a cyborg story", O'Donnell said, the score was more "intimate and personal".[26] For the Rookie's rain-slicked investigations, O'Donnell felt that a jazz-influenced approach worked best in echoing the noir atmosphere.[48] Other characters did not have any themes written specifically for them but became paired with motifs that suited them.[49]

text: O'Donnell began writing the game's music while Bungie was crafting the ODST announcement trailer. O'Donnell based the trailer's music on a small segment from the first ODST piece he wrote, titled "Rain".[50] Salvatori joined the project in February 2009 and helped complete the music chores in two months. Once O'Donnell felt they had enough material, the Chicago-based Salvatori flew to Seattle, Washington, finishing arrangements and recording live musicians.[49] Most of the music was recorded during early 2009. Additional composition chores were handled by Bungie sound designer C. Paul Johnson and orchestrator Stan LePard. The Northwest Sinfonia, which recorded the music for Halo 3, performed orchestral sections at Studio X in Washington.[48]

text: Members of Bungie were fans of the television series Firefly, and in Halo 3's development brought in several of the actors to fill Marine voice roles.[36] Three of them voiced the four main characters of the ODST squad: Nathan Fillion (a Halo fan himself),[51] Adam Baldwin, and Alan Tudyk.[52] Tricia Helfer provided the voice for the ONI agent Dare; Helfer and Fillion recorded their cinematic dialog together in the same room, a rarity in voice acting. Staten said that "their performances were stronger having them together at the same time".[52] While Staten wrote much of the cinematic dialogue, combat lines could be improvised by the voice actors.[53] Adding Sadie's Story to the game doubled the amount of voice work in the game.[54] After the voice roles were filled, Bungie licensed Fillion and Helfer's likenesses for their respective characters.[36]

text: Announcements[edit]

text: In July 2008, Microsoft head of Xbox business Don Mattrick told MTV that Bungie was working on a new Halo game for Microsoft, independent of the franchise spinoffs Halo Wars and Chronicles.[55] An announcement of the new Halo project was expected at the Electronic Entertainment Expo (E3) 2008 trade fair, with Bungie unveiling a countdown on their web site, but the announcement was shelved by Microsoft.[56] Microsoft stated that it wanted the game to have its own event. On September 25, 2008, a year after the release of Halo 3, Bungie debuted a teaser for the new project on their web site.[57] A full trailer was released during the Tokyo Game Show on October 9, 2008, officially unveiling the game's name as Halo 3: Recon and a release date of Autumn 2009.[55] In an unusual approach for Bungie, the trailer used pre-rendered graphics instead of the game engine or existing assets. Staten explained that it was too early in the game's development to spend a large amount of time on the trailer, and it would not have allowed Bungie to add touches for fans to discuss.[40]

text: In post-trailer interviews, Bungie staff members told gaming press that Recon was the last installment in the Halo trilogy.[58] Though Bungie did not consider Recon a full game,[59] with writer Luke Smith comparing it to WarCraft III expansion The Frozen Throne, the game shipped with all Halo 3 multiplayer maps and did not require Halo 3 to play.[60][61][62] Smith asserted the game would not be a crossover into stealth and squad-based genres, noting, "this isn't Brothers in Arms: Halo or Tom Clancy's Splinter Cell: Halo."[39] On November 25, Jarrard announced the game had been retitled to Halo 3: ODST as a "more straightforward" description of the game.[63]

text: Bungie and Microsoft first showed ODST in a playable form at E3 2009, where the game's release date and retail versions were finalized. Bungie initially marketed ODST as a title smaller in scope than previous numbered entries in the series. When the game's retail versions were announced, however, the game received a standard price of US$60, which Bungie and Microsoft attributed to the game growing beyond the planned scope. "Over the course of development it got a lot bigger than we were anticipating," said Bungie's Lars Bakken. "We thought of it more as an expansion and then it grew well beyond that."[64] Creamer explained that since the development platform was stable, "we were able to create quite a bit more content than we originally thought we would".[65] The game's length increased from original estimates of 3–5 hours to 8–10.[66] The discrepancy was not discussed until E3 2009 when Microsoft decided it was a full game.[64] Unlike the post-launch support for Halo 3, ODST does not have downloadable content.[67]

text: Release[edit]

text: Halo 3: ODST ships as a two-disc set. The first disc contains the campaign mode as well as the Firefight co-op mode, while the second disc contains the multiplayer mode with the complete set of Halo 3 maps. Owners of the game received an invitation to participate in the Halo: Reach multiplayer beta, which went live on May 3, 2010. Pre-orders included a token to unlock Avery Johnson as a playable character in the Firefight multiplayer mode. This code was included only by certain retailers.[69] A special edition "Collector's Pack" contained the game and a special ODST-branded wireless Xbox 360 Controller.[70] Toys "R" Us offered an ODST action figure and a US$20 gift card as a buying incentive.[71]

text: By April 2009, market research firm OTX reported that ODST was the most highly anticipated video game,[72] a spot it continued to hold in late August.[73] Before its release the title was the top-selling game on Amazon.com based on preorders alone, spending 107 days atop the merchant's top 100 video games and software list.[74] Copies of ODST were sold early in France. Microsoft responded by launching an investigation and threatening to ban any players on Xbox Live playing ODST before its official release;[75] Xbox lead manager Stephen Toulouse later clarified that they would not ban legitimate buyers.[76]

text: Microsoft prepared what was described as a "mammoth" advertising campaign for the game, with Entertainment Director Stephen McGill affirming that the game "is absolutely a key title to us ... this is the first time we've ever done anything like this, and Halo 3: ODST is a great way to kick it off." Numerous promotional materials were released through Xbox Live, and many more via online and television advertising.[77] Marvel Comics published a limited comic series, Helljumper, featuring ODST's main characters.[78]

text: A live-action trailer titled The Life was posted on the Internet in September and later used in television spots as part of the promotional material released for the game.[79][80] Filmed at several locations in Budapest, Hungary, The Life follows an ODST named Tarkov from a military funeral where he is inspired to become a soldier, through training and combat and up to the moment he becomes a leader in battle.[81] The short film was created by advertising agency TAG SF with effects by Asylum, and directed by production company MJZ, who also handled the award-winning Halo 3 "Believe" advertisement.[80] Legacy Effects designed and fabricated props, weapons, armor, and a Covenant Brute costume within two weeks.[82] Bungie supplied 3D geometry that allowed the company to quickly create accurate representations of in-game items, and provided input on the UNSC dress uniforms. The initial cemetery scene was filmed inside the cooling tower of an active nuclear power plant in Budapest, and outside the tower the production team created a mud pit and obstacle course to simulate basic training. Members of the Hungarian special forces served as drill instructors in the training sequence, firing blanks. Finally, filming moved to an abandoned Soviet-era aluminum refinery for the short's final memorial scene. An additional scene was shot there, but did not appear in the final product.[81]

text: ODST launch events were held around the United States. Bungie and Microsoft sponsored an official launch event at the Experience Music Project and Science Fiction Museum and Hall of Fame in Seattle, Washington. Featured at the event were discussion panels about the series and advance looks at other Halo content such as the anime collection Halo Legends.[83] About 800 fans attended from around 6–11 pm before heading to nearby game stores to get their copy of the game.[84] GameStop held almost 3,700 launch parties across the United States.[85]

text: On release Halo 3: ODST became the top-selling Xbox 360 game worldwide.[86] More than 2.5 million copies of the game were sold within two weeks of release, totaling more than US$125 million in sales.[87] ODST claimed the overall top spot in UK game sales,[88] becoming the 12th highest sell-through for a single platform title in the market.[89] ODST took the top spot on Australian game charts on release and, after being outsold by FIFA 10 in early October, reclaimed the best seller position.[90] In Japan, where first-person shooters have generally fared poorly,[91] ODST sold 30,000 copies by September 27.[92] ODST sold 1.5 million units during September in the United States, the best-selling title for that month.[93][94] In October, the game sold 271,000 units in North America (taking sixth place for game sales); Microsoft reported that ODST sold 3 million units worldwide by November.[95][96] Overall, it was the ninth bestselling game of the year in the United States, one of only two Xbox 360 games to chart.[97] Expecting sales of the game to increase as players wanted to access the Reach beta, UK retailers slashed its price in April 2010.[98]

text: The remastered campaign of Halo 3: ODST was released as downloadable content for Halo: The Master Chief Collection in May 30, 2015 and was free to all owners of said game that played from launch to December 19, 2014. It is available to purchase separately to those who are not eligible for a free code for the add-on.[99][100][101]

text: Reception[edit]

text:
Reception

Aggregate score

Aggregator
Score

Metacritic
83/100[102]

Review scores

Publication
Score

1UP.com
A−[103]

CVG
9/10[104]

Edge
9/10[105]

Eurogamer
8/10[106]

G4
5/5[107]

Game Informer
9.25/10[108]

GamePro
[6]

GameSpot
9/10[109]

GameSpy
[110]

GamesRadar+
[111]

IGN
9/10 (US)[112]
8.6/10 (UK)[113]
8/10 (AU)[114]

OXM (US)
9.5/10[115]

OXM (UK)
9/10[116]

TeamXbox
9.4/10[117]

tag: table

text: Halo 3: ODST garnered generally positive reviews, and holds an average of 83/100 on aggregate web site Metacritic.[102] Time's Lev Grossman wrote ODST was a "milestone" as it proved "Bungie can use the same instrument to play in totally different key," adding to the longevity of the Halo franchise.[118] In contrast, Pete Metzger of the Los Angeles Times wrote that although ODST was a good game with a compelling story, action, and graphics, "the same can be said for nearly every first-person shooter that is released these days" and that ODST failed to raise the bar set by previous Halo games.[119] 1UP.com's Jeremy Parish noted that while ODST had its flaws, its greatest success was bringing together players who preferred either the multiplayer or campaign portions with a game that would satisfy both camps.[103]

text: Critics were split on whether ODST was worth its price. Official Xbox Magazine critic Ryan McCaffrey confidently wrote that given the campaign, multiplayer mode, and second Halo 3 multiplayer disc, "no one should have any qualms about ODST's value as a [US]$60 offering!"[115] Other critics who judged the title a full game included the staff of Edge Magazine,[105] Parish,[103] and Computer and Video Games' Mike Jackson.[104] Erik Brudvig of IGN did not consider ODST a "true sequel", but more than an expansion, and recommended that those hesitant about buying the game do so.[112] Those who disagreed included Ars Technica's Ben Kuchera,[120] GamesRadar's Charlie Barratt,[111] Eurogamer's Tom Bramwell,[106] and IGN Australia's Narayan Pattison.[114] In The New York Times' Seth Schiesel wrote that "Microsoft Game Studios has overreached in trying to charge the typical retail price for a full game, around [US]$60, for a product that either should cost [US]$40 or have a lot more content for the single-player aspect of the product."[121]

text: Critics also disagreed sharply regarding whether the game was a large step forward for the series. Parish said that less enemy variety was balanced by changes he considered the most experimental things Bungie had done for years.[103] Edge and Bramwell praised the contrast between the Rookie's nighttime segments and the more fast-paced flashback vignettes.[105][106] Edge added that while the narrative design was not groundbreaking, it served as a structure for exploring every possible weapon choice and strategy in the series.[105] While Parish considered the ODST's abilities much different from those of the Chief,[103] other critics such as Jackson wrote that the Halo feel was barely changed and that this was not detrimental.[104] Brett Molina of USA Today felt that the game disappointed by not spending more time in the Rookie's open environment; "instead," Molina wrote, "roughly two-thirds of ODST's combat feels very much like a traditional Halo game" instead of exploring new mechanics.[122]

text: ODST's visuals and atmosphere were praised. McShea wrote that while the Halo 3 engine was showing its age, the game could still "wow" because of the art design.[109] Parish wrote that the feel of Mombasa changed dramatically when played cooperatively;[103] G4TV found that additional players spoiled much of the solitary feel.[107] Travis Moses of GamePro wrote that while the game's graphics were consistently outclassed by other shooters, the game's frame rate remained consistently high as expected from Halo games.[6] Technology company Digital Foundry said that, despite welcome improvements in AI, the main flaws from Halo 3's graphics engine—namely a sub-720p native resolution and lower-quality human faces—remained.[123]

text: The game's audio and sound were lauded.[124] McCaffrey wrote that while the music of Halo 3 was "too familiar", ODST had freed O'Donnell to "craft his best work yet", which the critic considered good enough for a standalone purchase.[115] A significant departure from the consensus was offered by Kuchera, who wrote that the saxophone touches "[sound] like the softcore porn they show on Cinemax after midnight",[120] and GameSpy's Anthony Gallegos, who felt that the music did not mesh when extended into combat segments.[110]

text: Firefight was praised as "addictive",[125] especially for showcasing the excellent artificial intelligence of enemies.[103] Jeff Marchiafava of Game Informer credited the enemies with differentiating Firefight from similar game modes in games such as Gears of War 2 or Left 4 Dead, which featured mindless zombies or cannon fodder.[108] The staff of Official Xbox Magazine UK wrote that the gametype's depth and options made Gears of War's comparable mode look "simple" in comparison, and that Firefight extended the life of the game.[116] In contrast, Bramwell felt that in Firefight "there is both a sense of futility in the knowledge that death is only a matter of time and odds, and fatigue in the realisation that many levels play out just as they did in the campaign, except a bit more so".[106]

text: Interviewed by G4TV, Bungie representatives saw part of the mixed and negative reception as stemming from their own marketing of the title—first as an expansion pack, then a full game. "If you look at the lower scores, they almost all cite an issue in perceived value based on an initial expectation that was set for an 'expansion' and then a feeling that they were overcharged for the final product," Jarrad said, echoing Staten's comment that "if we'd never said the words 'expansion pack' we would have seen an appreciable increase in the review scores". Other elements they wish they had improved had they the time were the pacing and navigation of the nighttime segments and matchmaking for Firefight.[126] Halo manager 343 Industries director Frank O'Connor said that he was glad ODST "didn't take off", in his view, because it allowed people to focus on Reach and its launch and marketing.[127]

text: Awards[edit]

text: Lev Grossman and Peter Ha ranked ODST as the eighth best game of the year for Time, lauding the game as "a dark, slow, jazzy, hard-boiled take on the Halo world".[128] Softpedia branded ODST the best first-person shooter of the year; games editor Andrei Dumitrescu wrote that while the game occasionally felt formulaic, it was bolstered by a good plot, great music, and supporting characters that players could care about.[129] Chris Kohler from Wired ranked ODST as the third best Xbox 360 title of the year, writing that the game "injected a fresh breath into the staid corridors of Bungie's shooter franchise".[130] Halo 3: ODST also won "Best Original Score" at the 2009 Spike Video Game Awards.[131] "The Life" was a finalist in the "Outstanding Visual Effects in a Video Game Trailer" category by the Visual Effects Society in the group's eighth annual awards.[79]


document_title: The Serpent's Shadow (Riordan novel)

question_text: when does the serpent's shadow take place

question_tokens: when does the serpent 's shadow take place

text: The Serpent's Shadow (Riordan novel)

text: Plot[edit]

text: This book begins six months after the events of the preceding novel, when Carter Kane and Sadie Kane travel to Dallas the 51st nome, with their initiates and meet J.D. Grissom, the leader of the nome. They tell him that they need a magic scroll from the King Tut exhibit at the Dallas Museum of Art, or his nome will get attacked and destroyed by the forces of Apophis, the god of chaos, who will rise, swallow the sun, and destroy the world in three days time. Sadie sees a face in the wall which tells them they instead need a golden box. However, the nome is attacked, and the scroll is destroyed. To save everyone from getting killed, Sadie summons Ma'at, repulsing the forces of chaos but blacks out from the experience, later learning that for two minutes, she had no heartbeat. They discover that all the 51st nome has been destroyed, and all of the magicians killed. At the 21st nome in Brooklyn, they discover that the golden box Sadie was told to retrieve by the wacko magician, is a shadow box of king Tut.

text: Horus visits Carter as a pigeon and hints at a connection between shadows and statues. Carter suspects that there is a better way to execrate Apophis that doesn't involve destroying himself and Sadie, and decides to consult Thoth. He tells everybody at dinner and makes plans to consult Thoth that night, but Sadie makes him go to their school dance. During the dance, Sadie meets with Anubis, and he suggests that the shadow is like a computer backup drive, but Shu, god of wind, and Anubis' great-grandfather separates them. Sadie gets an idea about using Bes' sheut to give him back his ren and restore the god's soul.

text: Leonid, the Russian magician they met last year comes with bad news, and reveals he has secretly been learning the Path of Shu, which is forbidden. Sadie takes him to the First Nome to meet Amos. He tells them that the rebels, led by Sarah Jacobi and Kwai, have teamed up with Apophis. Amos tells Zia and Sadie to visit Bes. Meanwhile, Carter and Walt go visit Thoth. Thoth is being attacked by demons. Walt and Carter repulse them, and Thoth helps them understand who Setne is. They realize they have to visit the Land of the Dead at his trial and persuade Osiris to help them.

text: When Zia and Sadie are visiting the House of Rest, Sadie realizes that Amos is learning the Path of Set, who he was once forced to host. Tawaret, hippo goddess, tells them where Bes once hid his sheut. Carter, Sadie, Zia, and Walt meet and exchange information. They meet Osiris, and persuade him to let Setne go with them.Zia and Carter manage to help Setne retrieve the Book of Thoth from the Temple of the Apis bull. It is revealed that Ra, or more specifically, his morning incarnation, Khepri has chosen Zia as a host. She manage to survive but later Setne tricks them by giving orders to Bloodstained Blade to kill them and at the same time bringing them to the Land of Demons .

text: Meanwhile, Sadie and Walt visit the goddess Neith, who tells them she will help them if they can survive her hunt till sunset. They survive by using their shen amulets to split up and transfer to each other's side, and then in the end, right before sunset Sadie tricks Neith by mesmerizing her with tales of hunting jelly babies. Walt uses the rest of his energy to revive Bes' sheut, and then he survives by becoming the host of Anubis. Neith agrees to fight Apophis alongside the House of Life when he rises.

text: Carter and Zia have been busy. They can't interpret the map and have to let Setne go so he can lead them to the shadow. They allow him to cast a glamour on them, so they blend in and look like demons and follow him to the Sea of Chaos. There is a single pillar of Ma'at and a small dock, implied to be the first land that rose from Chaos, that survive the sea's effect, and to capture the shadow, they must be on the very edge of the dock while preventing themselves from getting sucked in. Their glamours start to fade and flicker. Setne is surprised that they are still alive as they approach closer, but Horus reveals to Carter that Ra's power channeled through Zia is protecting them. They manage to summon the serpent's shadow, but Setne betrays them, changing the glamour to a binding curse. He explains that he will bind the shadow within a figurine and blackmail Apophis with execration unless he does as he orders; he wants to destroy Egypt and all mention of his father (Ramses the Great) as well as most magicians, but not the entire world. However, there are some spells he can't cast since he's a ghost, so he needed Carter and Zia's help. Sadie manages to bind him and unbind Carter and Zia. Sadie manages to capture the shadow and they turn back to Setne, but he disappeared, bindings and all. However, they have bigger problems: the shadow called for reinforcements and an army of demons are marching toward them .

text: Tawaret arrives with the gods from the Fourth House (Sunny Acres) and saves them from a tragic death. The fight gave the old gods and goddesses a purpose, and Bes has returned to his old ugly self, just in time to get them to Ra's sun barge, which is just passing by. When they get on board, Ra is still old and senile, but is reborn as a more fit old man once he merges with Zia.

text: They arrive in Giza to find Bast distracting Apophis as best as she can. Bes and Ra/Zia go to help her, while Sadie and Carter help to defend the First Nome. The rebel magicians are already there, guarding the door to the Hall of Ages, where Amos is trapped with the hit squad. The initiates of the Brooklyn house manage to fight their way through, with Walt/Anubis helping with his death magic. When they enter, Amos holds his own against the magicians because he is now the host of Set, and manages to keep Set's power in check. Sadie and Carter channel Isis and Horus and join the fight, but they're all subdued. The lead rebel, Sarah Jacobi, comes close to killing Sadie, but Walt/Anubis save her and bring forth the spirits of the dead to pull her Jacobi into the Duat. Her lieutenant, Kwai channels Apophis, and is killed, but manages to cast one last spell "bring down" to destroy the Nome. Sadie channels Isis' power and manages to speak the most difficult Word of Power of all: "Ma'at" and restores the Nome, passing out in the process.

text: In order to do the execration, they must be face the serpent. Carter/Horus call on the gods and with their help, they march out to meet Apophis, but he is fracturing reality and they're all separated on different levels of the Duat, fighting different parts of Apophis. Sadie and Carter manage to find where the serpent is strongest and though he manages to swallow Ra/Zia, they still cast the execration spell and banish him forever. Zia escapes, blowing up Apophis' head in the process but the gods have to withdraw, as Chaos and Ma'at are so intertwined that by pushing away and banishing Chaos, the forces of Ma'at must also be pushed away.

text: Though Ra has returned, he offers Horus the throne, and Carter takes the throne of the Pharaoh in the First Nome as well. Walt has gone missing, and Bast and Bes have also withdrawn. Their father is just happy that they're alive and succeeded in saving the world. They return to Brooklyn House, where Walt/Anubis is waiting for him. Because Walt is Anubis' eye and mortal host, he doesn't have to withdraw from the world and can stay with Sadie .

text: Carter takes Zia out on a date in the Mall of America. She tells him that she will be staying in Brooklyn House. They share a passionate kiss and start a relationship.

text: Setne is still on the loose with the Book of Thoth and Brooklyn House has had an influx of initiates, as have most of the Nomes in the world. They explain that they'll be so busy that there probably won't be any more recordings. The book ends with an invitation to anyone with pharaoh's blood to join the House of Life.[2]

text: Characters[edit]

text:
Carter Kane: The host of Horus and has the "blood of the Pharaohs," being a descendant of Narmer and Ramses the Great through both sides of his family. He is one of the main protagonists, and is initially described as always dressing "impeccably" in dress shirts and pants due to the influence of his father, Julius, but relaxes into a more modern style as the series progresses. He has dark skin, curly dark brown hair and brown eyes, more closely resembling his African-American father than his white mother. After the death of his mother, he spent six years travelling with his father . His speciality is combat magic and his preferred weapon is a khopesh, an ancient Egyptian sword. His girlfriend is Zia Rashid .
Sadie Kane: A host of Isis.She is described to have blue eyes and caramel hair, neither brunette nor blonde. As she stays in England and more closely resembles her white mother than her African-American father, her skin is paler than Carter's and has a slight British accent. Her father gave her a cat whom she named Muffin, although it is actually the goddess Bast who is the protector of the Kane siblings. Sadie is the bold one from the Kane siblings. Sadie's boyfriend is Walt/Anubis.
Walt Stone: A young, dying Egyptian magician who bears the curse of Akhenhaten. He becomes the host of Anubis in order to stay alive. Walt is also Sadie Kane's boyfriend. His specialty is in charm making.
Amos Kane: A powerful Egyptian magician who became a partial host of Set. He is Julius Kane's brother, and a former protector of the Kane children. At the beginning of the series, he is the third most powerful member of the House of Life, after Iskandar and Michel Desjardins, but after the deaths of Iskandar and Desjardins, he becomes the most powerful magician in the world, and Chief Lector of the House of Life.
Zia Rashid: A fourteen-year-old Egyptian magician. She is a friend to Sadie and Carter's girlfriend. She is also a host of the Egyptian god Ra.
Bast: The Egyptian goddess of cats. She becomes the Kane children's protector after Ruby dies freeing her from her prison.
Set: The powerful Egyptian god of deserts, storms, disorder, violence and foreigners.
Apophis: The embodiment of Chaos and ancient enemy of Ra. He used the demon Face of Horror as his host.
Julius Kane: An Egyptian magician who becomes the host of Osiris and releases the gods from their prisons. He is Carter and Sadie Kane's father. His wife, Ruby Kane, died trying to free Bast and seal away the chaos snake Apophis in Cleopatra's Needle. He is also an Egyptologist. Has mixed emotions about Walt Stone and Anubis the god of death.
Ruby Kane: Carter and Sadie's mom who dies at Cleopatra's Needle trying to seal away the chaos snake Apophis.
Ra: The midday sun god. He was once the king of the Gods, but abdicates his throne in favor of Horus.

tag: ul


document_title: Mixture

question_text: what are the two types of mixtures in science

text: Mixture

text: In chemistry, a mixture is a material made up of two or more different substances which are mixed. A mixture refers to the physical combination of two or more substances in which the identities are retained and are mixed in the form of solutions, suspensions and colloids.[1][2]

text: Mixtures are one product of mechanically blending or mixing chemical substances such as elements and compounds, without chemical bonding or other chemical change, so that each ingredient substance retains its own chemical properties and makeup.[3] Despite that there are no chemical changes to its constituents, the physical properties of a mixture, such as its melting point, may differ from those of the components. Some mixtures can be separated into their components by using physical (mechanical or thermal) means. Azeotropes are one kind of mixture that usually pose considerable difficulties regarding the separation processes required to obtain their constituents (physical or chemical processes or, even a blend of them).[4][5][6]

text: Characteristics of mixture[edit]

text: Mixtures can be either homogeneous or heterogeneous. A homogeneous mixture is a type of mixture in which the composition is uniform and every part of the solution has the same properties. Examples of homogeneous mixtures include alloys and alcohol in water. A heterogeneous mixture is a type of mixture in which the components can be seen, as there are two or more phases present.

text: One example of a mixture is air. Air is a homogeneous mixture of the gaseous substances nitrogen, oxygen, and smaller amounts of other substances. Salt, sugar, and many other substances dissolve in water to form homogeneous mixtures. A homogeneous mixture in which there is both a solute and solvent present is also a solution. Mixtures can have any amounts of ingredients.

text: The following table shows the main properties of the three families of mixtures.

text:
Solution
Colloid
Suspension

Homogeneity

Homogeneous
Visually homogeneous
but microscopically heterogeneous

Heterogeneous

Particle size

< 1 nm
1 nm – 1 μm
> 1 μm

Physically stable

Yes
Yes
Needs stabilizing agents

Exhibits Tyndall effect

No
Yes
Yes

Separates by centrifugation

No
Yes
Yes

Separates by decantation

No
No
Yes

text: The following table shows examples of the three types of mixtures.

text:
Dispersion medium (mixture phase)
Dissolved or dispersed phase
Solution
Colloid
Suspension (coarse dispersion)

Gas

Gas
Gas mixture: air (oxygen and other gases in nitrogen)
None
None

Liquid
None
Liquid aerosol:[7] fog, mist, vapor, hair sprays
Spray

Solid
None
Solid aerosol:[7] smoke, cloud, air particulates
Dust

Liquid

Gas
Solution: oxygen in water
Liquid foam: whipped cream, shaving cream
Sea foam, beer head

Liquid
Solution: alcoholic beverages
Emulsion: milk, mayonnaise, hand cream
Vinaigrette

Solid
Solution: sugar in water
Liquid sol: pigmented ink, blood
Suspension: mud (soil, clay or silt particles are suspended in water), chalk powder suspended in water

Solid

Gas
Solution: hydrogen in metals
Solid foam: aerogel, styrofoam, pumice
Foam: dry sponge

Liquid
Solution: amalgam (mercury in gold), hexane in paraffin wax
Gel: agar, gelatin, silicagel, opal
Wet sponge

Solid
Solution: alloys, plasticizers in plastics
Solid sol: cranberry glass
Clay, silt, sand, gravel, granite

text: Physics and chemistry[edit]

text: A heterogeneous mixture is a mixture of two or more chemical substances (elements or compounds). Examples are: mixtures of sand and water or sand and iron filings, a conglomerate rock, water and oil, a portion salad, trail mix, and concrete (not cement).  A mixture of powdered silver metal and powdered gold metal would represent a heterogeneous mixture of two elements.

text: Making a distinction between homogeneous and heterogeneous mixtures is a matter of the scale of sampling. On a coarse enough scale, any mixture can be said to be homogeneous, if the entire article is allowed to count as a "sample" of it. On a fine enough scale, any mixture can be said to be heterogeneous, because a sample could be as small as a single molecule. In practical terms, if the property of interest of the mixture is the same regardless of which sample of it is taken for the examination used, the mixture is homogeneous.

text: Gy's sampling theory quantitavely defines the heterogeneity of a particle as:[8]

text:
where

h

i

{\displaystyle h_{i}}

,

c

i

{\displaystyle c_{i}}

,

c

batch

{\displaystyle c_{\text{batch}}}

,

m

i

{\displaystyle m_{i}}

, and

m

aver

{\displaystyle m_{\text{aver}}}

 are respectively: the heterogeneity of the

i

{\displaystyle i}

th particle of the population, the mass concentration of the property of interest in the

i

{\displaystyle i}

th particle of the population, the mass concentration of the property of interest in the population, the mass of the

i

{\displaystyle i}

th particle in the population, and the average mass of a particle in the population.

text: During sampling of heterogeneous mixtures of particles, the variance of the sampling error is generally non-zero.

text: Pierre Gy derived, from the Poisson sampling model, the following formula for the variance of the sampling error in the mass concentration in a sample:

text: in which V is the variance of the sampling error, N is the number of particles in the population (before the sample was taken), q i is the probability of including the ith particle of the population in the sample (i.e. the first-order inclusion probability of the ith particle), m i is the mass of the ith particle of the population and a i is the mass concentration of the property of interest in the ith particle of the population.

text: The above equation for the variance of the sampling error is an approximation based on a linearization of the mass concentration in a sample.

text: In the theory of Gy, correct sampling is defined as a sampling scenario in which all particles have the same probability of being included in the sample. This implies that q i no longer depends on i, and can therefore be replaced by the symbol q. Gy's equation for the variance of the sampling error becomes:

text: where abatch is that concentration of the property of interest in the population from which the sample is to be drawn and Mbatch is the mass of the population from which the sample is to be drawn.